The Orchestra (For Now) release their second EP, ‘Plan 76’. A follow-up from their much applauded and well-regarded debut EP, ‘Plan 75’. These two projects share more than just a name; ‘Plan 76’ can be understood as both a continuation of, and confrontation with its predecessor – toying with the possibilities of the self-proposed sound of ‘London Prog’ – testing the boundaries of it as a musical identity. Where does it fragment and break? What occurs at its periphery? Can the centre hold or does it perforate and become unrecognisable?
The track, ‘Hattrick’ provides the essence of the transition into ‘Plan 76’. Keeping the identity of ‘Plan 75’, that frenetic and frenzied organised chaos, the song plays between boundaries, between the core and the periphery. Insert here all the clichés and ideas about conflict and contrast, overused oxymorons that we see in the writing of critics. However, not in the snide overdone fashion because now these notions are deserving and warranted – both sonically and chronologically in the progression of The Orchestra (For Now) – as the song moves between restraint and release; an uneasy lily-pad to step across, that sways and nearly sinks but in the end remains steadfast and holds the weight of the transition.
Their writing process is meticulous, concentrated and testing, quick to explore and disregard if something is not fitting. It is clear on songs such as ‘Amsterdam’ and ‘The Administration’ that The Orchestra (For Now) thought deeply about the shape of the songs, how they ebb and flowed because they do not feel wasted at all. Rather, they cling to your ears, take you through a spellbinding opera of rock, filled with theatrics, trials and tribulations. Behind each chord, each verse lies the next surprise which was even more ambitious and artfully crafted than the last.
The Orchestra (For Now) has been accurately described as a sonic representation of neurosis, arising from their experiences of living in London. For Freud, “neurosis is the inability to tolerate ambiguity”, put simply, a psychological disorder whereby we repress past experiences that are intolerable which affects our capabilities to make sense of ourselves and the world, thus we begin to display neurotic symptoms. In this way – could it be that the neurosis of their music emerges from a psychogeographic cause? How could one begin to understand the linking between external material pressures on the psyche and their representations in music? Perhaps through the music of The Orchestra (For Now) we can attempt to situate this problematic, to explore further the affectivity of Urban life on the creative possibilities for contemporary music.
In any matter, London Prog is fitting giving none of them are ‘from’ London but rather came to the City for University or something alike. As we have seen a rise in anti-immigration sentiment on the streets and in digital spaces – it is a reminder that the beauty of London lies, in part, of those who become naturalised here. Who are not socialised from birth to be of acceptance of the City, but rather can critique and comment from the perspective of knowing what else is out there, from the outside? Yet, in doing so – come to represent all that is loved and loathed about it.
The Orchestra (For Now) have tuned into something special, without being pastiche, they have brought to life a sound of the moment. One that can be perfectly heard in the last song of the EP, ‘Deplore You/ Farmers Market’. A culmination of contemporary forms of music being contextualised to musically comment on our shared feelings. It would explain why they are being heralded as one of the most important groups around. The answer does not need to lie in deconstructing instrumental arrangements, or understanding lyrical compositions, or analysing a social media campaign. It can be felt to be understood. As the song erupts with the lyrics, “They all deplore you for all of your failures” – we can be reminded of the idea that it is rather our failures, mistakes or errors that give us lessons, that they are of the utmost importance. For returning to Freud, “from error to error, one discovers the entire truth”.
It will be interesting to see what is next for The Orchestra (For Now) as they close out this opening act. I respect the fact they wanted to see where ‘Plan 75’ would go, and now we know – what is next? Personally, I am looking forward to finding out. But for now, enjoy this – and go to one of the live shows to see what it is really all about.
Cover artwork by Bill Bickerstaff
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